Art Appreciation-SLM 4

Republic of the Philippines
Laguna State Polytechnic University

Province of Laguna
ISO 9001:2015 Certified
Level I Institutionally Accredited
LSPU Self-Paced Learning Module (SLM)
Course GEC 106 - Art Appreciation
Sem/AY Second Semester/2023-2024
Module
4
No.
Lesson
Art in Asia and Soul making (Appropriation, and Improvisation)
Title
Week
Week 16-17
Duration
Date May 13-17, 2024 | May 20-24, 2024
Descriptio This lesson will discuss the art in Asia specifically in China, Japan, and Philippines. This
n of the also tackles the soul making together with appropriation and improvisation.
Lesson
Learning Outcomes
Intended Students should be able to meet the following intended learning outcomes:
Learning • To discuss how improvisation can make an artwork distinctive.
Outcomes • Explain how meanings can be derived from art.
• Trace the development of Philippine art.
Targets/ At the end of the lesson, students should be able to:
Objectives • Compare and contrast Chinese and Japanese art.
• Explain how art can be a key element in the formation of a society’s culture.
• Identify the issues and problems that can be arise because of appropriation of
art.
Student Learning Strategies
Online Activities A. Online Discussion via Google Meet

(Synchronous/ You will be directed to attend in a One-Hour class discussion per week on the
Soul Making, Appropriation, and Improvisation and the Art in Asia. To
Asynchronous)
have access to the Online Discussion, refer to this link: ____________________.
The online discussion will happen on the scheduled date given.
(For further instructions, refer to your Google Classroom and see the
schedule of activities for this module)
B. Learning Guide Questions:
LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Province of Laguna
1. What does Culture and the Arts pertain to?
Note: The insight that you will post on online discussion forum using Learning Management
System (LMS) will receive additional scores in class participation.
Lesson 10: Art in Asia

Art is another way of releasing thoughts and emotions. Every artist expresses
themselves in their own unique way, which is linked to their cultural identity
and way of life. They can express it through painting, architecture, sculpture,
literature, music, performing, and cinema. It can serve as a comfort
communication, and even a source of our confidence.
Asia is one of the continents is rich in art. The collective and various practices
and traditions of art, architecture, music, literature, lifestyle, philosophy,
politics, and religion that have been practiced and perpetuated by the
different ethnic groups of Asia through prehistory are referred to as Asian
culture. Countries belonging to Asia have different expertise in various fields.
China is well-known for its calligraphy, painting, and metalwork, while Japan
is well-known for its crafts like woodcuts, origami, and ceramic art.
However, as time passed, the tides changed as frequently as the changing
Chinese dynasties, and art, of course, followed suit. This is when the poetry
Offline Activities and philosophy of Asia begin to truly emerge. We witness a vast spectrum of
(e-Learning/Self- creative forms emerge as each period reflects on the religious, political, and
Paced) cultural events of its time. Asia, as the world’s largest continent, is home to
numerous creatives, from Middle East to Southeast Asia and beyond.
A. Chinese Art
In the present context, China is in the forefront of economic development. Its
booming economy has led to its modernization. History also shows that China
has been at the leading edge of development especially in terms of cultural
development.
• Inhabitants of China in the past were able to produce primitive artisan

works.
• Excavated pieces show bronze vessels with intricate designs depicting
a lot of imagery dating from the second millennium BCE.
• The Chinese during the Zhou Dynasty was under a feudal kind of social
system.
• It was a parallel period with that of Greece’s Golden Age:
➢ A period when culture, particularly art, has flourished
tremendously.
➢ During this period metal works befitting the royal family were

Province of Laguna
produced in abundance.
➢ Jade was also a popular choice of material for artworks.
• Confucianism was the dominant way of life subscribed to by general
public.
➢ Those who subscribed to principles espoused by Confucius
believed that in order for society to work, one must learn how
to sympathize to others.
➢ These principles became evident in most artworks depicting
everyday life how these social interactions come to play.
• The Chinese also had interactions with Western missionaries who
came from India and brought some of the Indian influences in China.
➢ Indian models inspired a lot of Chinese artists for a few
centuries.
➢ By the start of the 6th century, Chinese artists started making
art that highlighted their very own culture.
➢ Paintings usually depicted magical places and realms that were
born out of sheer imagination while still infusing the Chinese
characters that define their culture.
➢ It was a dominant belief that a great power coming from a
higher spirit is the one moving the artist and his work together.
➢ Most paintings were done in monumental styles wherein rocks
and mountains served as a barrier that made the viewer
distracted initially from the main subject of the work.
➢ Rounded forms rise in a way that it flows from the background
into the foreground.
➢ Artist also used sharp brushstrokes to provide detail in their
works.
➢ Western landscapes usually had a single vanishing point while
Chinese paintings had the opposite since most paintings aimed
to give the audience a multiple perspective on the subject.
• Porcelain is one of the commonly used items to make decorative
ornaments, such as vases and jars. Some artifacts from excavation sites
show intricate works of the Chinese in these porcelain vases. This can
be attributed to the tradition of passing down the artistry from one
generation to the next.
➢ Just like most Chinese artworks, the focal point in these vases
depicts a central theme: nature.
➢ They believe that man is an integral part of nature ensuring
that there is a certain balance in it.
➢ Part of their culture is emphasizing a form of social life, giving
importance to communities and interactions among people.
➢ Some of the common overarching themes of Chinese works
include everyday activities, war and violence, death, and
nature.

Province of Laguna
➢ It can also be noted that Chinese artworks are infused with a lot
of symbolism.
➢ Art becomes an avenue for the artist to convey his reflection of
the things he is aware of.
➢ It is customary for the ancient Chinese people to show respect
for their ancestors and departed relatives.
➢ From a Western point of view, this reverence of the Chinese can
be mistaken for as that of worshiping gods.
➢ Most of the departed of the ancient Chinese were placed in
either gold or bronze vessels, depending on their social status.
Some Examples of Chinese Art

Calligraphy. Calligraphy, literally "beautiful writing," has been appreciated as
an art form in many different cultures throughout the world, but the stature of
calligraphy in Chinese culture is unmatched. In China, from a very early
period, calligraphy was considered not just a form of decorative art; rather, it
was viewed as the supreme visual art form, was more valued than painting
and sculpture, and ranked alongside poetry as a means of self-expression and
cultivation. How one wrote, in fact, was as important as what one wrote.
Li Po’s Calligraphy
Paintings. Like calligraphy, traditional Chinese painting or guohua, is done

using a brush dipped in black ink or colored pigments, usually on paper or
silk. The finished work can be mounted on scrolls and hung. Traditional
painting has also been done on walls, porcelain and lacquer ware. Ancient
Chinese painters like to paint portraits and landscapes. There are two main
techniques in Chinese painting:
• Gongbi, literally “working pen”, is a meticulous style, rich in color and
detailed brush strokes. It is often used for portraits or narrative
subjects.
• Xieyi, meaning “freehand", is a looser style of painting, and usually

Province of Laguna
used in landscapes. Xieyi often features exaggerated forms and
expresses the artist’s feelings. It is also called shuimo, meaning
“watercolor and ink”.
Xu Beihong’s Galloping Horse
Sculpture. Chinese sculptors have sculpted delicate objects, such as figures,

animals, plants, and landscapes, with a number of new kinds of raw materials,
such as sand and coal, apart from the traditional bronze and jade. Many of the
works have become precious artistic pearls in the treasure house of Chinese
art.

Province of Laguna
Shang Dynasty Bronze Zun
Pottery. China is famous for its beautiful, high-quality pottery, called

porcelain. This is partly because of the huge amount of clay and stone found in
China. Over the years, the Chinese developed a variety of ways of making and
decorating pottery and became specialists in their craft.
B. Japanese Art
Art in Japan has undergone a series of transitions and periodization. From an
isolated nation to that of embracing Western influences and modernization,
Japan has transitioned into a modern cultural mixing pot.
Here, the commonly accepted periodization of Japanese history:
❖ Jomon (from origins to about 300 B.C.). The period takes its name

Province of Laguna
from the "string texture" with which were decorated the first
ceramic artifacts and includes the first artistic testimonies of
Japanese proto.
❖ Yayoi (from 300 B.C. to about 300 A.D.). The artistic production is
aesthetically simple but begins to contemplate the use of
revolutionary technologies such as the lathe. A fundamental
characteristic is the introduction of metallurgy.
❖ Yamato (from 300 to 710). It is the period marked by the
supremacy of the eponymous clan who was the first to unify the
country. The distinctive architectural feature is the building of rich
and impressive burial mounds.
❖ Nara (from 710 to 794). For the first time there is a fixed capital for
the empire: Nara. Previously, in fact, it ranged when the Emperor
died. Decisive the influence of Buddhism in artistic production.
❖ Heian (from 794 to 1185). Flourishes the production of mandala,
and of the first pagodas. The court began to develop great attention
to the arts. By this time the famous Genji Monogatari.
❖ Kamakura (from 1185 to 1333). It takes its name from the
shogunate during which we are witnessing the shift of power from
the aristocracy to the military samurai class. In art prevails realism.
❖ Muromachi (from 1336 to 1573). After the interlude of the city of
Kamakura, the imperial capital back to being Kyoto. The artists take
up less popular and aristocratic themes. Decisive influence of Zen.
❖ Azuchi Momoyama (from 1573 to 1603). Azuchi and Momoyama
are the respective castles of both Nobunaga and Hideyoshi daimyo
whose series of wars characterizes the period. It affirms the Kano
school of art.
❖ Edo (from 1603 to 1868). It is the triumph of political and military
power of the Tokugawa who moved the capital to Tokyo and closed
all the doors to contacts with foreigners. Great attention given to
science and techniques.
❖ Meiji (from 1868 to 1912). The renewal Meiji return power to the
emperor after centuries of rule of the shogun. The country, as a
result of a strong impetus of industrialization, become a military
power.
❖ Taisho (from 1912 to 1926). It is a phase of democratization. The
emperor's weakness allows, despite the imperialist tendencies in
the war years, the affirmation of a widespread cultural liberalism.
❖ Showa (from 1926 to 1989). With the long reign of Emperor
Hirohito, the country lives immense social and cultural upheavals
determined by both the World War II and the post-conflict
reconstruction.
❖ Heisei (from 1989 to 2019). With the rise to power of Akihito, the
cultural characteristics of modern Japan are defined: a country

Province of Laguna
where cohabit marvelously futuristic instances and ancestral
traditions.
❖ Reiwa (from May 1st, 2019). The new era of Japan officially began
on 1 May 2019, the day on which Crown Prince Naruhito ascended
the throne, as the 126th Emperor of Japan, succeeding his father,
Emperor Akihito.
• It is evident how the Japanese were able to infuse local and indigenous
materials with modern Western subjects and focal points.
• It is important to take note that there are Korean and Chinese
influences evident in Japanese artworks which is based on artifacts
such as ceramic figures and ornaments.
• One of the ceramic products created by the Japanese is called Haniwa.
These are ceramic figures that are made up of clay. They are placed
beside burial spots for reasons that are unknown.
Haniwa House
• The native religion of Japan is Shintoism. Although this religion
subscribes to beliefs such as being one with nature and embracing the
notion of the existence of many gods, it did not use art to communicate
its beliefs.
• When Japan established trading relations with China, they did not only
trade goods with them, but they were also influenced by the Chinese
with their religious beliefs and practices.
• Buddhism became an integral part of Japanese culture.
• Artworks such as images and sculptures of Buddha were produced.
• Buddhist temples also became staples in key places.
• Art in essence became an expression of worship for the Japanese.
• Japan and China had a long-standing relationship, were in addition to
Buddhism, China also influenced Japan in terms of paintings.
• After the 14th century, Japan isolated itself from the rest of the world,
which in effect, gave them avenue to let their culture flourish.
• Japanese style of painting leaned toward abstract and naturalistic

Province of Laguna
handling. In essence, the artist is given the free reign for his work,
which had more room for spontaneity and individuality.
• Many artists focused on individual portraits, elements of nature,
scenes from everyday life in creating their artworks.
• Although the Chinese influenced them, the Japanese adapted a more
minimalist take on their paintings. This is a stark contrast with the
extravagant and sometimes over-the-top designs of the Chinese.
• The Japanese also developed a kind of painting called the ukiyo-e,
which was crafted through woodcut prints.
• The artists developed a technique that used lines and colors in a very
distinctive manner.
• Some Western artists were intrigued and influenced by these ukiyo-e
paintings. Ex.: Woodcuts of Hiroshige and Sharaku who had a lasting
impact on Western artists like Vincent van Gogh and Edouard Manet.
"Ase o fuku onna"(Woman wiping face)
C. Philippine Art
Different art forms have emerged in the Philippine art scene, throughout
Philippine history, that spans from the precolonial period to the
contemporary periods.
• Before the colonizers came to the Philippines, ethnic minorities have
used art not only for daily activities but also for religious rituals and
practices.
• Most art forms used by ethnic communities include pottery, weaving,
carving, and the use of metalwork and jewelry.
• Pottery is said to be one of the earliest art forms used by the early
Filipino people.
• One of the most prominent artifacts related to pottery is the
Manunggul Jar found in Palawan.

Province of Laguna
This jar is a representation of the early Filipinos’ religious beliefs and practices.
➢ It serves as burial jar, which depicts two men rowing a boat.

➢ This reflects their beliefs in afterlife--the crossing of the body of
water is a transition from life here on earth unto the next.
• Eventually, pottery produced items that are of practical value for the
early Filipinos. Such as pots for cooking and large vases for storing.
• Weaving was also one of the earliest forms of art expressions in the
Philippines.
• One of the most popular artisans of weaving is the people from the
Cordilleras. They are known for their colorful woven cloth, which also
have both religious and practical value.
• The T’boli people from Mindanao are also known for their woven
abaca cloth called t’nalak.
Okir
• They use the particular cloth to make ornaments, which also represent
their beliefs through symbols. One ex.: is the image of the frog, which is
their representation for fertility.
• Woodcarvings from Palawan also depict animals like birds, which are
representations of their religious beliefs. According to local stories, the
birds serve as the messengers of the people to the heavens and vice
versa.
• In Mindanao, the Tausug and Maranao people are known for their okir,
which are designs applied to their woodcarvings. Their common
subjects include the sarimanok, naga, and the pako rabong. Each

Province of Laguna
subject is a representation for a certain theme or motif but generally,
these symbols depict their beliefs as a person.
➢ The sarimanok is a stylized design of a mythical bird either

standing on a fish or holding a piece of fish on its beak. The
story of the sarimanok was a central figure to a number of
legends. One narrative tells the origin of the word sarimanok. A
sultan of Lanao once threw a party for his daughter named Sari
who was beautiful but seemed unhappy with her situation. On
the day of her party, a rooster crashed, and the princess ran off
with the rooster. She was never found. In memory of Sari, the
Sultan carved a rooster. The Sultan’s act paved the way for the
term sarimanok.
➢ Initially, jewelry was used as amulets for protection to drive

away evil spirits. Eventually, some minority groups from the
Cordillera and Cotabato utilized jewelry as ornaments
integrated in their clothing.
➢ The naga forms an S-shape, depicting an elaborate figure of a
mythical dragon or serpent. The numerous curved lines
serving as detail for the figure depicts the scales.
➢ The pako rabong, on the other hand, is like a growing fern with
a broad base. The fern gracefully stems and tapers upwards.

Province of Laguna
➢ The sarimanok and naga are usually used as ornamental

designs for the house of the sultans.
• It was in the 16th century that the Spaniards discover the Philippines,
and they introduced their religion to the local people.
• Aside for acquiring resources, they had a goal to replace the existing
indigenous cultural practices and belief of the early Filipinos.
• Art was used by the Spaniards to propagate their Christian faith while
at the same time, subtly establishing their foothold in the country.
• The Church, just like in Western Europe at one point, become the sole
patron of the arts. The churches house various relics and paintings.
There is an underlying move to integrate Western culture and ideals in
the Philippine setting. Being under colonial rule, it is not surprising for
Filipinos to express their indignation and desire for liberation.
• Art became one of the avenues for Filipino patriots and nationalists.
• One of the famous works that expressed Filipino nationalism and
stood against the colonizers would be Juan Luna’s “Spoliarium.”
➢ This large-scale academic painting garnered a gold medal and
signified that the reformists could come at par with their
European counterparts.
➢ At the same time, Luna’s win signified the start of the Filipino’s
call for equality.

Province of Laguna
• When the Philippines was liberated from the Spanish rule, the
Americans took over to establish a colonial government. They also
propagated their culture and beliefs through the implementation of
public-school systems.
• Art had a new role in advertising American-controlled markets.
• After World War II, the Philippine saw itself as an independent state
transitioning into the formation of its national identity.
• Artists focused on modern takes when it comes to content, form, and
subject matter.
• A debate emerged on whether art should be done as “proletarian art”
or “art for art’s sake. As modern paintings started to emerge, a
triumvirate of artist was formed-Carlos Francisco, Galo B. Ocampo and
Edades.
• The 1960s proved to be a period of modernism and dynamism with a
lot of styles, techniques, and methods emerging.
• Most artworks were reflections of the political, social, and economic
situation of the Philippines during the Marcos administration.
• It was a period wherein people embodied and advocated for
nationalist ideals. This is the reason why there was a paradigm shift of
subjects in the artworks.
• Beautiful and idealistic imagery was replaced with aggressive
undertones.
• The works were reflections of the general feel of the people based on
the political situation during that time.
• Social realism became the norm when former President Ferdinand
Marcos declared Martial Law.
• Most artworks were forms of protest against the government’s
reflected issues like economic problems, land reforms, gender rights,
worker’s rights, and cultural minorities plaguing the Filipino people
brought about by the Martial Law.
• Eventually photography has evolved into art form, which highlights

Province of Laguna
various artistic expressions evident in a variety of events, scenes and
activities.
Painting
The visual art scene in the Philippines during the early American colonial
period and up to date had been marked by the conflict between the classicists
and modernist.
• The classicists are those that give high regards to the artistic
achievements of the Greek and the Romans and so they produced
realistic or romantic portraits, genre and landscapes which could
probably be remnant of the Spanish influenced in Philippine art, but
those who had been highly influenced by the 19th century European
and American forms, style and techniques put innovations in their
work.
• Classicism:
1. Fabian dela Rosa (1869-1937) is considered the first
significant Filipino painter of the 20th century who is
recognized for his realistic portraits and landscapes which
usually employed subdued and cool colors. He is the first
dean of the School of Fine Arts established in 1909 at the
University of the Philippines.
Planting Rice by Fabian dela Rosa
2. Fernando Amorsolo y Cueto (1892-1972) is considered as

the father of Classicist school in the Philippines and is noted
for his striking colors.
a. He is famous for his portrayal of rural folkways and

characters like the “dalagang bukid” or a typical Filipina
and indigenous landscapes bathed in striking sunlight
which became the trademark of his works;

Province of Laguna
b. He was employed as a faculty member of the School of
Fine Arts of U.P. and became its dean from 1952-1955
and some of his best students emulated his works;
c. Later the “Amorsolo school” was born which produced
some of the top artists of the next generation like Jorge
Pineda, Ireneo Miranda and Toribio Herrera;
d. He is the first one to receive the National Artist Award
for Fine Arts in 1972.
• Modernism
1. Miguel Zaragosa’s two pointillist works in 1890’s already had
a touch of modernism in it but it is Emilio Alverio who is first
noted for Impressionist still life paintings, as well as Juan
Arellano’s Impressionist landscapes.
2. Triumvirate of Modern Art in the Philippines – includes
Victorio C. Edades, Carlos Botong Francisco and Galo B.
Ocampo which produced collaborative murals like the
Interaction.
3. Victorio C. Edades – was the first among those who

questioned the Amorsolo style as the standard for painting.
Influenced by the modern art technique in the United States, he
opened a show at the Philippine Columbian Club in Ermita
Manila which featured Marchel Duchamp’s Nude Descending
the Staircase. Instead of smiling farmers, fisherfolks or a
“dalagang bukid,” he chose to portray them naked covered
with sweat and grime in his famous work “The Builders” in
1928. This is considered as the modernist painting in the
Philippines.

Province of Laguna
“The Sketch,” 1928, oil canvass by Victorio Edades

4. Galo B. Ocampo (1913-1985) – is popular for his brown
Madonna made in 1938 which is a Filipinized mother and child
portrayal.
Pounding Rice by Galo B. Ocampo, 1974

He is famous for his Flagellant series which depicts scenes
▪
during the Lenten season as period of war and penitence.
▪ He was commissioned to make the “coat-of-arms” of the
Republic of the Philippines and served as director of the
National Museum.
5. Carlos “Botong” Francisco, (1913-1969) is an Angono-based
painter who is known on the use of fluid lines and brilliant
colors. The same technique employed in the mural at the
Manila City Hall entitled “History of Manila.”
▪ His collections include his grand interpretation of
important historic events in the country like the First Mass
and local activities like fiesta and Bayanihan.
▪ The highlight of his career aside for claiming the National
Artist Award in 1973 was when his mural entitled “500
years of Philippine History” was featured in Time Magazine.

Province of Laguna
Filipino Struggles in History Harana

6. Diosdado Lorenzo (1906-1984) is known for his illustration
of conservative subject like landscapes, nipa huts and women
but done in modernists’ strong, vigorous brushstrokes and
with the use of bright green and oranges.
▪ His first attempt was in 1938 at the Philippine Columbian
Club
Landscape by Diosdado Lorenzo

• Response to Japanese Occupation and War Propaganda Art – the
progressive fruits of the conflict between classicism and modernism in
the Philippines was temporarily halted by the Japanese occupation
wherein almost all artistic endeavors were controlled by the imperial
army. There are different responses among artists:
1. Some favored the occupation like:
a. Vicente Alvarez Dizon’s A Day Begins in 1942;
b. Crispin V. Lopez’s rendition of women vegetable sellers talking
to Japanese soldiers in Baguio Market in 1942;
2. Some expressed national identity despite turmoil and war like:
a. Emilio G. Santiago’s Christmas Eve in 1942;
3. Some presented the social conditions of the times like:
a. Pilar M. Santiago’s Evacuees in 1941;
b. Simon Saulog’s Conspiracy in 1943.
Simon Saulog’s “Ibon mang

maylayang lumipad”

Province of Laguna
Paintings that present war atrocities of the Japanese were done after the war
like the works of:
➢ Demetrio Diegos’ Capas, Diosdado Lorenzo’s Atrocities in Paco and
Execution at the Cemetery
➢ Dominador Castañeda’s Doomed Family.
• Thirteen Moderns – Led by Edades, Ocampo, and Francisco which
also includes Diosdado Lorenzo, Vicente S. Manansala, Hernando R.
Ocampo, Cesar T. Legaspi, Demetrio Diego, UST faculty members
Bonifacio Cristobal (1911) and architect Jose Pardo (1916), Arsenio
Capili (1914-1945) who died during the war, two student-assistants –
Ricarte Purugganan (1912-1998), and Anita Magsaysay-Ho (1914).
Anita Magsaysay is the only woman in the group. The group reacted to
the romanticist and realist style of Luna and Hidalgo as well as the
classicism of Amorsolo School.
1. Vicente Manansala (1910-1981) is considered as the major
proponent of Cubism in the country and his Jeepneys and Madonna
of the Slums best represent his styles.
2. Hernando R. Ocampo (1911-1978) produced the “first” pure non-

representational artwork in the country, and his abstract work is
nor produced by a formal training for he was self-taught.
• His most famous work Genesis serves as the theatre curtain of
the Main Theater in CCP.
3. Cesar Legaspi (1917-1994) is always remembered for his

illustration and representation of Filipino masses. One great work

Province of Laguna
includes “Gadgets” which present half naked factory workers.
4. Demetrio Diego (1909-1988) is a comic illustrator by profession

who is famous for his presentation of the sufferings of Filipino and
American soldiers in the infamous prison camp in Capas Tarlac.
5. Anita Magsaysay-Ho (1914-2012) is the first Filipina to win
national and international recognition for her works which rural
folk women doing daily chores are presented thin, with long necks,
slant eyes and flat noses which is a typical Filipina.
“Night Market” by Anita Magsaysay-Ho

Other important figures in contemporary period:
1. Fernando Zobel (1924-84) who come from a prominent business
family rose as an artist, critic and educator.
• He is known for his Carroza which is an abstract illustration of the
carriage carrying the Virgin Mary on a procession during the fiesta.

Province of Laguna
Carroza “Hills of Nikko,” 1960 by Jose T. Joya

By Fernando Zobel
2. Jose T. Joya (1931-1995) – followed Jackson Pollock’s Abstract

Expressionism but in tropical colors and Filipino sensibility.
3. Nena Saguil (1914-1994) loves to interpret the cosmos in orbs,
spheres, circles, mandallas, cells and moons.
• The 1960’s and 1970’s – young artist made their names which still
echoes in visual art scene today, the list includes:
1. “Bencab” Ben Cabrera
2. Antonio Austria
3. Manuel “Boy” Rodriguez Jr.
4. Roberto Chabet
5. Jaime de Guzman
6. Danilo Dalena
7. Imelda Cajipe-Endaya
8. Justin Nuyda
9. Angelito Antonio
Sculpture
The first decades of 20th century in the Philippines were dominated by
Guillermo Tolentino. Trained in the classical style in Rome, Tolentino’s
appreciation is evident in his works and words. This is also true among the
other artists who followed his standards like Anastacio Caedo and his son
Florentino Tolentino.
• Classicist – Guillermo Tolentino (1890 – 1976).

1. His masterpieces include Oblation in the University of the Philippines and
the Bonifacio Monument in Caloocan.

Province of Laguna
2. In 1973 he was named as a National Artist for Sculpture.
• Modernist
1. Napoleon Abueva (b. 1930) – he went against the standard of classicist
Tolentino and worked with variety of materials and techniques. Some of
his works are noted for its stylized, simplified, and later abstraction
which argued to be influenced by Moore and Brancusi. His “Kaganapan” is
one of the best examples of this style which depicts a woman at the height
of pregnancy.
“Kaganapan” by Napoleon Abueva

2. Other modernists include:
a. Solomon Saprid
b. J. Elizalde Navarro
c. Lamberto Hechanova
d. Edgar Doctor
e. Arturo Luz
f. Eduardo Castrillo
g. Jerry Araos
h. Virginia Ty-Navarro
i. Francisco Verano
Lesson 11: Soul Making (Appropriation and Improvisation)
Throughout history, art has played an integral role to capture, record, and
communicate events, activities, traditions, and even belief systems of various
groups of people. Even Paleolithic societies have found ways to record events
despite the unavailability or limited access to various tools. In essence, art has

Province of Laguna
been an instrument to reflect the things and events that transpired in the past
so that the future generations can have a glimpse of the past. With the advent
of technological advancements, societies have improved the ways and means
through which art can be a communicative tool. If an artwork is an avenue for
an artist to express narratives through symbols, then it follows that the artist
is the author of the work. But during the twentieth century, issues on
ownership and authorship have emerged primarily because of the value
ascribed to the viewer of the work.
Soul Making: Making and Deriving Meaning from Art
In order for humans to make sense of language and derive meanings from
words, semantics and grammatical rules are important elements to be
considered. Aside from this, context and symbolism are also considered to
interpret and analyze either verbal or written works. When it comes to art, in
order for people to make sense of the work, it would require understanding
the visual elements where art was grounded on, especially the principles of
design. It is important to note that the audience of the artwork must have a
certain level of awareness to the style, form, and content of the said work.
Without such understanding, it would be difficult to appreciate the visual arts
in its fullness and entirely.
Style refers to the distinctive handling of elements and media associated with
the work of an individual artist, a school, a movement, or a specific culture or
time period (Fechner - Rathus, 2013). Throughout history, there have been
developments in art styles that depict different and varied methods of
expression. Artworks also have a certain form. This form is what the audience
sees _ a finished product put harmoniously (or not) according to the different
principles of design. In essence, form is the totality of the artwork, which
includes the textures, colors, and shapes utilized by the artist. The content of
an artwork includes not only its form but also its subject matter and
underlying meanings or themes (Fitchner -Rathus, 2013). The persevere of
the artwork must take into consideration the totality of elements, underlying
themes and motifs, and composition.
Improvisation
Improvisation can be defined as doing something without prior preparation.

There is a decision to act upon something that may not necessarily be
planned. Within the present context, improvisation has become an integral
part of the arts. Some would say it is a reaction against the stiffness in the arts
during the twentieth century. There is a call for liberation from monotony that
aims to rekindle the creative spirits of people in the arts.

Province of Laguna
For some artists, infusing spontaneity and improvisation adds up to the
totality of the work of art. The unexpectedness of the changes brought about
by improvisation makes the artwork to have a distinctive quality that creates
its individuality and identity. Some artists subscribe to the idea of allowing
chances in the process of producing the work. For example, artists would
want to capture the gloom brought about by an approaching storm or the
beauty of a meteor shower at night. Since they do not necessarily have
absolute control over natural phenomena, their reliance on chances may not
necessarily produce their expected outcome. Artists allowing their subjects do
improvisation may have totally different results as well.
When an artist makes his work, he has already an idea of the elements be
included in his work. As he begins to craft his work, he may have deviated
from his original plan. So, in essence, improvisation is evident in the process
of making the painting. During the 1960s, art improvisation has taken form in
the galleries around New York City. Performance arts, dance, and visual arts
were combined to create new forms of artworks using a new medium. These
performances were known as the “Happenings” which later on paved the way
for modern body art and performance art. One central figure in the
improvisation movement was Georges Mathieu. He started the “action
painting” wherein the process is seen real-time. In this scenario, the process is
more important than the finished product.
Martha Minunji Performance Art
It shows how improvisation allows for a certain extent of freedom for the
artist to improvise and allow the subject to perform and embody the artwork
itself. To a certain extent, it allows the artist to explore and think about how
the audience can actually be part a part of the work itself. Improvisation may

Province of Laguna
have been a revolutionary concept when it comes to art because it blurs the
line of reality and that of imagination.
Gofman (Own work). An example of action painting
Appropriation
If, for example, an artist created a painting and displayed it in a museum, who
do you think owns the artwork: the artist or his intended audience? During
the twentieth century, people started raising the question whether or not the
act of deriving meaning gives the ownership of the artwork to the viewer
rather than the artist himself. This notion paved the way for the emergence of
appropriation artists who seem to promote the idea that the authorship relies
on the viewer. If this is the case, then appropriation artists can take as much
as they want from an existing artwork.
Appropriation of art has been a common practice throughout history. In the

past, if an apprentice painter needs to hone his skills in his craft, he would be
allowed to use his master’s work to copy. It is as if the apprentice is trying to
explore his personal application to techniques to something he is more
familiar with. However, there are some people who go to the extreme by
believing that copying the exact artwork of an artist and attributing it to his
own. This could pose a problem especially with authorship. The problem
arises when the appropriation artist would get bits and pieces from works
and incorporate these elements into his own work. In addition, when
appropriation artists eschew the responsibility for putting up the details of
other works and integrating them into their own, their voices and
perspectives of the other artists get lost with that of the appropriation artist.
There seems to be a very thin demarcation line between appropriation art and
forgery. Traditionally, forgery can be classified into two forms: outright copies

Province of Laguna
of existing works and pastiches, which are works that bring together elements
from a work and infusing them to a new work. But in contemporary times,
forgery can be in the form of creating an approximate of what an artist would
do by prediction. This can be done by observing the techniques and style the
artist employed and even the focal points highlighted in his previous and
existing works.
The intentions of the appropriation artists are often questioned since issues of
plagiarism or forgery sometimes arise. Some would argue that the reason
behind the appropriation is that they want the audience to recognize the
images they copied. There is a hope on the part of the artist for the viewers to
see the original work in a new perspective. That appropriation would bring
about the new context to the original work. One of the most famous works of
appropriation would have to be Andy Warhol’s “Campbell’s Soup Cans”
(1962). Warhol copied the original labels of the soup can but deliberately
filled up the entire picture plane. The idea of putting together of the soup cans
is something new for the audience. Just like any product, the brand is integral
to Campbell’s identity. As an artist, Warhol decided to isolate the image of the
product. This attempt could in turn stimulate product recognition. A common
viewer would associate the Campbell soup with the portraits of the soup cans.
This association would bring about a certain kind of craving for the said
product. In a way, it is a subtle form of advertising that would entice the
costumer to buy and patronize the product.

Province of Laguna
Understanding Directed Assess

Rubric for Essay
CRITERIA 4 3 2 1
CONTENT Substantial, Adequately Limited content Superficial with
specific, and presented and with explanation weak to minimal
sophisticated elaborated content were
ideas were sufficient ideas used
presented
ORGANIZATION Presented content Presented Presented Presented
were arranged content were content were content were
thoroughly arranged basically arranged in
throughout the thoroughly on arranged, enough minimal pattern
paper certain parts of for the readers to
the paper understand
STYLE Uses variety of Uses generic Uses limited Uses minimal
words and words and words and appropriate
sentence sentence sentence words and
structures structures structures sentence
anchored with structures
evidence
Learning Resources
• Art appreciation First Edition Bernardo Nicolas Caslib, Jr., Dorothea C. Garing, Jezreel Anne R.
Casaul
• Art appreciation: Introductory Reading On Humanities Focus on Philippine Art Scene, Crisanto
Q. Regadio Jr., Josielyn M. Mendoza
• Agawu, Kofi (2009) Music as Discourse: Semiotic Adventures in Romantic Music. New York
Oxford University Press
• Antolihao, Lou (2004) Culture of Improvisation. Quezon City : Institute of Philippine Culture,
Ateneo de Manila University
• Atkins, Robert (1993) ArtSpoke : A Guide to Modern Ideas, Movements, and Buzzwords, 1848-
1944. New York: Abbeville Press
• Cajipe-Endaya, Imelda (2002). How to Document One’s Work. In Paleta 5: A Handbook for
Visual Artists, ed. Eloisa Mary Hernandez, pp. 24-26, Manila:NCCA.
• Dela Cruz, Mercedita Jose (1982) Sourcebook of Philippine Traditional Motifs and Crafts
Processes. Manila: Philippine Committee for (the UNESCO) Internation.
• Dudley, Louise and Austin Fancy (1968) The Humanities: Applied Aesthetics. 4th ed. New York
McGraw-Hill.
• Demetrio, Francisco (1978) Myths and Symbols Philippines. Manila: National Bookstore
• Egan, Kieran (1992) Imagination in Teaching and Learning: The Middle School Years. Chicago:
University Chicago Press
• Fernandez, Steven Patrick (2010) Making Theatre: The Craft of the Stage. Iligan City: MSU-Iligan

Province of Laguna
Institute of Technology, Mindanao State University
• Fernandez, Steven Patrick (2009) The Human Image in the Arts. Iligan City: IPAG Arts Resource
Management, Inc.
• Fernando-Amilbangsa, Ligaya (2005) Ukkil: Visual Arts of the Sulu Archipelago. Quezon City:
Ateneo de Manila University Press.
• Flores, Patrick (2002) The Role of the Critic. In Paleta 5: A Handbook for Visual Artists, ed. Eloisa
May Hernandez, pp. 27-31. Manila NCCA.
• Flores, Patrick and Cecile Sta. Maria de la Paz (2000) Sining at Lipunan. Manila: Sentro ng
Wikang Filipino, Sistemang Unibersidad ng Pilipinas.
• Guillermo, Allica (2001) Image to Meaning: Essay on Philippine Art. Quezon City: Ateneo de
Manila University Press.
• Honour, Hugh and John Fleming (2009) A World History of Art. 7th ed. London: Laurence King
Publishing.
• Johnson, Julian (2002) Who Needs Classical Music? Cultural Choice and Musical Value. New
York: Oxford University Press.
• Basa, Mick (2013) The Soul Maker. Online, http//durianwriter.wordpress.com/tag/noy-narciso/
• Capistrano-Baker, Florina (2006) Pioneers of Philippine Art. Makati: Ayala Musuen and
Dreampulse Production, video, 32.25 min.
• Corre, Fruto and Nancy Pe-Rodrigo (1999) Hinabing Panaginip (Dream Weavers), Bookmark
video, 45 min.
• Dela Cruz, Elvie, JL Burgos, Imelda Morales, Opaline Santos, Ria Torrente, Kathrina Reston,
Tom Estrera III, Allan Alcantara, Erwin dela Cruz, Rene Bayking, Joel Laserna (2012) Art
Republik. Asian Christian Arts Association, Inc. vídeo. Episode 1: Siblings in Art; Episode 2:
Spoken Words; Episode 3: Performing Bayanihan; Episode 4: Space and Sound; Episode 5:
Artist’s by Night Director’s Cut; Episode 6: Tambayan; Episode 7: On Women; Episode 8: Skin;
Episode 9: The Old and the New; Episode 10: The Collector; Episode 11: The Winner Is;
• Kleon, Austin (2012) Steal Like An Artist. TEDxKC. Online,
https://www.youtube.com/watch?v=oww7oB9rjgw, 11:14 min.
• Legarda, Loren (2015) Dayaw Episode 1: “Lupa, Karagatan, Kagubatan.” NCCA. ABS-CBN News
Channel Production. Online, http//www.youtube.com/watch?v=uDvufr-3xFw, 23.30 min
• Legarda, Loren (2015) Dayaw Episode 2: “Mito, Kwento, Musika.” NCCA. ABS-CBN News Channel
Production. Online, http//www.youtube.com/watch?v=uDvufr-3Xp6PLC6xJU, 21.20 min
• Legarda, Loren (2015) Dayaw Episode 3: “Inukit, Hinulma, Nilikha.” NCCA. ABS-CBN News
Channel Production. Online, http//www.youtube.com/watch?v=OPfH8RAbjQ, 20.09 min
• Legarda, Loren (2015) Dayaw Episode 4: “Hinabing Kasaysayan ng mga Kababaihan.” NCCA. ABS-
CBN News Channel Production. Online, http//www.youtube.com/watch?v=mL013U97tlE, 23.20
min
• Legarda, Loren (2015) Dayaw Episode 5: “Pagbangon, Pagpapatuloy.” NCCA. ABS-CBN News
Channel Production. Online, http//www.youtube.com/watch?v=oi0YEeYsNwQ, 22.52 min
• Legarda, Loren (2015) Dayaw Episode 6: “Parangal sa mga Ninuno .” NCCA. ABS-CBN News
Channel Production. Online, http//www.youtube.com/watch?v=ClrjWNVC9HA, 26.02 min
• Moris, Dave (2011) The Way of Improvisation, TEDxVictoria. Online,
https//www.youtube.com/watch?v=MUO-pWJ0riQ, 10:49 min.
• Roth, Gabrielle (2008) The Wave Dance. Online,
https://www.youtube.com/watch?v=8cYYzcTzm6Y, 9:22 min.
• Jose, Regalado Trota (2007) How to Document a Structure. In Balangkas: A Resource Book on

Province of Laguna
the Care of Built Heritage in the Philippines, ed. Fernando Zialcita, pp. 25-28, Manila:NCCA
• Kleiner, Fred (2012) Gardner’s Art Through the Ages: A Concise History of Western Art. 3 rd ed.
Belmont, CA Wadsworth.
• Kleiner, Fred (2016) Art Through the Ages: A Global History. 5th ed. Boston: Cengage Learning
• Madale, Abdullah T. (1996) The Maranaw Torogan. Manila: Rex Bool Store
• Maritain, Jacques (1953) Creative Intuition in Art and Poetry. New York: Pantheon Books.
• Marien, Mary Warner and William Fleming (2005) Fleming’s Arts and Ideas. 10th ed. Belmont,
CA: Wadsworth.
• Minton, Sandra (1986) Choreography: A Basic Approach Using Improvisation. Illinois: Human
Kinetics Publishers.
• Mittler, Gene A. (2006) Art in Focus.3rd student ed. New York: McGraw-Hill/ Glencoe.
• Mora, Manolete (2005) Myth, Mimesis and Magic in the Music of the T’boli, Philippines. Quezon
City: Ateneo de Manila University Press
• Narciso, Norman (2016) Soulmaking. Davao City: Aletheia Publications.
• Ortiz, Ma. Aurora, Teresita Erestain, Alice Guillermo, Myrna Montano, and Santiago A. Pilar
(1976) Art: Perception and Appreciation.13th printing. Manila: University of the East.
• Osborne, Harold (1970) Aesthetics and Art Theory: An Historical Introduction. New York: E.P.
Dutton.
• Perez, Teody Boylie, Rogelito Cayas, and Norman Narciso (2013). Alampat: An Introduction to
Art Appreciation. Davao City: Blue Patriarch Publishing House.
• Pastor-Roces, Marian (1991) Sinaubang Habi: Philippine Ancestral Weave.Nikki Coseteng
Filipiniana Series, 1. Manila: Nikki Books.
• Spolin, Viola (1999) Improvisation for the Theater: A Handbook of Teaching and Directing
Techniques. 3rd ed. Evanston, Il: Northwestern University Press.
• Vaughan, David and Melissa Harris (1997) Merce Cunningham: Fifty Years. New York: Aperture.
• Wilson, Ruth (2012) Nature and Young Children: Encouraging Creative Play and Learning in
Natural Environments. 2nd ed. New York: Routledge.
• Yearwood, Gladstone L. (2000) Black Film as a Signifying Practice: Cinema, Narration and the
African American Aesthetic Tradition, Trenton, NJ: Africa World Press.
• Yeoman, Ian, Martin Robertson, Jane Ali-Knight, Siobhan Drummond, and Una McMahon-
Beattie (2004) Festival and Events Management: An International Arts and Culture Perspective.
New York: Taylor and Francis.
• Young, James O. (2008) Cultural Appropriation and the Arts. Malden, MA: Blackwell Publishing
• https://asiasociety.org/education/chinese-calligraphy
• https://www.chinahighlights.com/travelguide/culture/painting.htm
• http://en.chinaculture.org/library/2008-
01/22/content_64130.htm#:~:text=Chinese%20sculptors%20have%20sculpted%20delica
te,treasure%20house%20of%20Chinese%20art.
• https://www.artjapanese.com/brief-history-of-japanese-art.php

Art Appreciation-SLM 4

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Art Appreciation-SLM 4

Uploaded by

Copyright:

Available Formats

Republic of the Philippines

Laguna State Polytechnic University

Student Learning Strategies

Online Activities A. Online Discussion via Google Meet

B. Learning Guide Questions:

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Lesson 10: Art in Asia

• Inhabitants of China in the past were able to produce primitive artisan

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Some Examples of Chinese Art

Paintings. Like calligraphy, traditional Chinese painting or guohua, is done

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Xu Beihong’s Galloping Horse

Sculpture. Chinese sculptors have sculpted delicate objects, such as figures,

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Shang Dynasty Bronze Zun

Pottery. China is famous for its beautiful, high-quality pottery, called

Here, the commonly accepted periodization of Japanese history:

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

"Ase o fuku onna"(Woman wiping face)

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

➢ It serves as burial jar, which depicts two men rowing a boat.

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

➢ The sarimanok is a stylized design of a mythical bird either

➢ Initially, jewelry was used as amulets for protection to drive

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

➢ The sarimanok and naga are usually used as ornamental

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Planting Rice by Fabian dela Rosa

2. Fernando Amorsolo y Cueto (1892-1972) is considered as

a. He is famous for his portrayal of rural folkways and

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

3. Victorio C. Edades – was the first among those who

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

“The Sketch,” 1928, oil canvass by Victorio Edades

Pounding Rice by Galo B. Ocampo, 1974

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Filipino Struggles in History Harana

Landscape by Diosdado Lorenzo

Simon Saulog’s “Ibon mang

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

2. Hernando R. Ocampo (1911-1978) produced the “first” pure non-

3. Cesar Legaspi (1917-1994) is always remembered for his

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

4. Demetrio Diego (1909-1988) is a comic illustrator by profession

“Night Market” by Anita Magsaysay-Ho

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Carroza “Hills of Nikko,” 1960 by Jose T. Joya

2. Jose T. Joya (1931-1995) – followed Jackson Pollock’s Abstract

• Classicist – Guillermo Tolentino (1890 – 1976).

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

“Kaganapan” by Napoleon Abueva

Lesson 11: Soul Making (Appropriation and Improvisation)

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Soul Making: Making and Deriving Meaning from Art

Improvisation can be defined as doing something without prior preparation.

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Martha Minunji Performance Art

LSPU SELF-PACED LEARNING MODULE: ART APPRECIATION

Gofman (Own work). An example of action painting